FIG. 1 illustrates a makeup of digital video content 10 which may be broken down into frames 12, shots 14 and scenes 16. Typically, a frame 12 is a single image, a shot 14 typically comprises a plurality of frames 12 but may comprise as few as one frame 12 and a scene 16 typically comprises a plurality of shots 14 but may comprise as few as one shot 14. Typically, a director or producer will decide on a sequence of frames 12, shots 14 and scenes 16 that makeup video content 10. By way of non-limiting example, a scene 16 may take place in a particular environment (e.g. the inside of a store) and the shots 14 that make up scene 16 may comprise image frames 12 of different characters talking (e.g. a first shot 14 may corresponding to frames 12 where a camera is focused on a first character while the first character is talking and a second shot 14 may correspond to frames 12 where the camera is focused on a second character while the second character is talking).
Color grading (also known as color correction) is a process which typically involves manipulation of one or more frames 12 of video content 10. Typically, color grading is performed on a shot-by-shot basis (i.e. manipulation of shots 14), although color grading may be performed on a frame-by-frame basis (i.e. manipulation of frames 12) or even on portions of frames 12 (e.g. on objects within frames 12) using masks or power windows or the like. Non-limiting examples of the types of manipulations that could be performed during a color grading operation include: changing the contrast; changing luminosity; changing colors (e.g. by changing the intensities or values associated with red, blue, green or other color model values); changing white balance; overlaying a hue or tint, and/or the like.
A colorist typically uses color grading to achieve a number of objectives which may include: correcting for deficiencies in the image acquisition process, making sure that adjacent frames 12, shots 14 and/or scenes 16 flow together well, adding creative intent (e.g. feeling, mood, emotion, etc.) to video content 10; and/or the like.
As mentioned above, color grading tools typically permit a colorist to grade frames 12 and/or shots 14 independently. However, in many instances, the same or similar color grading processes will be used for multiple frames 12 and/or multiple shots 14. Some currently available color grading tools permit colorists to copy manipulations performed on one shot 14 to another shot 14 (e.g. by saving the color grading operations performed on a first shot 14 and transferring these manipulations to a second shot 14). This process of copying, saving and transferring is inefficient. Some currently available color grading tools permit colorists to apply a first sequence of color grading operations to all shots 14 in video content 10 in what is known as a “first light” grade. Such global color grading is insufficiently flexible from a creative perspective.
There is a general desire for methods and systems for color grading which permit video content 10 to be color graded with relatively high efficiency while maintaining a relatively high level of creative flexibility.
One particular type of color grading operation is known as a trim pass. A trim pass is typically used to manipulate video content for display on different rendering or display devices or for different delivery pipelines. For example, a trim pass may be used to re-grade video content that is originally prepared for display in a cinema having a certain type of projector, so that the re-graded content may be made suitable for delivery via streaming internet for display on a conventional LCD monitor or suitable for broadcasting over a cable network for display on a television. Performing trim pass color grading operations can be time consuming, since a trim pass may involve manipulation of every frame 12 or shot 14 of video content 10. A global or “first light” grade may not provide sufficient flexibility for trim pass color grading from a creative perspective.
There is a general desire for methods and systems for efficiently performing trim pass color grading operations while maintaining a relatively high level of creative flexibility.
The foregoing examples of the related art and limitations related thereto are intended to be illustrative and not exclusive. Other limitations of the related art will become apparent to those of skill in the art upon a reading of the specification and a study of the drawings.